Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Saudi Arabia and from Seoul.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1968 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Tehran.
I'm losing my edge to the art-school Lyon kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the clarinet sounds with much patience.
I was there when Donald Fagen started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Lee Hazlewood to the electroclash kids.
I played it at the Spitz.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Althea and Donna. All the underground hits.
All Deakin tracks. I heard you have a vinyl of every Barry Ungar record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
The Tremeloes,
Joe Finger,
The Leaves,
Pantaleimon,
The Fall,
The Vogues,
The Black Dice,
Stereo Dub,
Röyhkä ja Rättö ja Lehtisalo,
Manfred Mann's Earth Band,
Mary Jane Girls,
Ohio Players,
The Detroit Cobras,
Country Joe & The Fish,
Andrew Hill,
Thee Headcoats,
Slick Rick,
Porter Ricks,
the Bar-Kays,
David Bowie,
Fluxion,
the Swans,
Accadde A,
The Electric Prunes,
Rites of Spring,
Sonny Sharrock,
T. Rex,
The Music Machine,
Massinfluence,
Excepter,
Red Lorry Yellow Lorry,
Ultimate Spinach,
Ice-T,
Organ,
Hashim,
Roy Ayers,
The Durutti Column,
Crispy Ambulance,
Bootsy Collins,
Quando Quango,
Reuben Wilson,
Average White Band,
The Saints,
Flash Fearless,
Inner City,
Jeff Mills,
Henry Cow,
Kings Of Tomorrow,
Camberwell Now,
Soul II Soul,
Ponytail,
Glambeats Corp.,
Marmalade,
Neil Young,
Kaleidoscope,
DNA,
The Index,
Teenage Jesus and the Jerks,
Louis and Bebe Barron,
Animal Collective, Animal Collective, Animal Collective, Animal Collective.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.